The Sword And The Sorcerer

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A mercenary with a three-bladed sword rediscovers his royal heritage’s dangerous future when he is recruited to help a princess foil the designs of a brutal tyrant and a powerful sorcerer in conquering a land.  A lusty epic of revenge and magic…of dungeons and dragons, of wizards and witches, of damsels and desire…and of a warrior caught between them all.

ACTORS :  Lee Horsley, Kathleen Beller, Simon MacCorkindale

YEAR OF RELEASE :  1982

POSTAGE : Free In Australia

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A mercenary with a three-bladed sword rediscovers his royal heritage’s dangerous future when he is recruited to help a princess foil the designs of a brutal tyrant and a powerful sorcerer in conquering a land.

Terrific entertainment!

The Sword And The Sorcerer  This is a wonderfully well-done feature with top marks for its value in sheer fun.

If you’re not into fantasy, see this anyway as a great swashbuckler a la the Errol Flynn-as-hero genre. (And Lee Horsley even resembles Errol throughout this film, which I was fortunate enough to see theatrically at time of release.)

There are terrific villains galore, rip-roaring adventure, great castles and dungeons, complicated skullduggery, and comeuppance aplenty, all done with delicate humor.

This is great screen entertainment with a ’40s-’50s look to it, and that’s a compliment. There are no wasted moments. The fast-moving story relies much more on quality writing, acting and expert direction rather than copping out with the sort of elaborate special-effects that producers/directors of such films seem to lean on so heavily now, nearly two decades later.

I think it’s a classic, and a model, of its type.

Highly recommended to all except small children.

A joy to watch again and again

The Sword And The Sorcerer  “I have a debt to pay” … for 15 years of viewing pleasure. This film is an absolute joy, untarnished by repeated viewings, sadly overshadowed by Schwarzeneger’s vastly inferior Conan movies, and unreasonably critically trashed alongside truly terrible contemporary low budget thud and blunder efforts. The script creaks more than the plot, but reigned in from the curse of camp by director Albert Pyun the actors deliver their lines with a straight face and leave the the audience to find the comedy themselves. Almost a dictionary definition of “ahead of its time”, the film is a blueprint for the success of Sam Raimi’s Hercules and Xena, right down to the use of Australian bit players. Effects like the demon sorceror’s tomb might be managed better technically today, but no more atmospherically, and the closing sword battle is a triumph. The performances are eccentric and electric, and you could not wish for a more motley crew of cut-throats and sidekicks. Richard Lynch eats the scenery with unalloyed zeal, and quite simply more of Lee Horsley as Talon would have made the movie world a better place.
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